The Enormous Room

by E. E. Cummings

“Ta môme. Alice.”

and when I had read it—sticking his map up into my face, The Fighting Sheeney said with emphasis:

“No travailler moi. Femme travaille, fait la noce, tout le temps. Toujours avec officiers anglais. Gagne beaucoup, cent francs, deux cent francs, trois cent francs, toutes les nuits. Anglais riches. Femme me donne tout. Moi no travailler. Bon, eh?”

Grateful for this little piece of information, and with his leer an inch from my chin, I answered slowly and calmly that it certainly was. I might add that he spoke Spanish by preference (according to Mexique very bad Spanish); for The Fighting Sheeney had made his home for a number of years in Rio, and his opinion thereof may be loosely translated by the expressive phrase, “it’s a swell town.”

A charming fellow, The Fighting Sheeney.

Now I must tell you what happened to the poor Spanish Whoremaster. I have already noted the fact that Count Bragard conceived an immediate fondness for this rolypoly individual, whose belly—as he lay upon his back of a morning in bed—rose up with the sheets, blankets and quilts as much as two feet above the level of his small, stupid head studded with chins. I have said that this admiration on the part of the admirable Count and R. A. for a personage of the Spanish Whoremaster’s profession somewhat interested me. The fact is, a change had recently come in our own relations with Vanderbilt’s friend. His cordiality toward B. and myself had considerably withered. From the time of our arrivals the good nobleman had showered us with favours and advice. To me, I may say, he was even extraordinarily kind. We talked painting, for example: Count Bragard folded a piece of paper, tore it in the centre of the folded edge, unfolded it carefully, exhibiting a good round hole, and remarking: “Do you know this trick? It’s an English trick, Mr. Cummings,” held the paper before him and gazed profoundly through the circular aperture at an exceptionally disappointing section of the altogether gloomy landscape, visible thanks to one of the ecclesiastical windows of The Enormous Room. “Just look at that, Mr. Cummings,” he said with quiet dignity. I looked. I tried my best to find something to the left. “No, no, straight through,” Count Bragard corrected me. “There’s a lovely bit of landscape,” he said sadly. “If I only had my paints here. I thought, you know, of asking my housekeeper to send them on from Paris—but how can you paint in a bloody place like this with all these bloody pigs around you? It’s ridiculous to think of it. And it’s tragic, too,” he added grimly, with something like tears in his grey, tired eyes.

Or we were promenading The Enormous Room after supper—the evening promenade in the cour having been officially eliminated owing to the darkness and the cold of the autumn twilight—and through the windows the dull bloating colours of sunset pouring faintly; and the Count stops dead in his tracks and regards the sunset without speaking for a number of seconds. Then—“it’s glorious, isn’t it?” he asks quietly. I say “Glorious indeed.” He resumes his walk with a sigh, and I accompany him. “Ce n’est pas difficile à peindre, un coucher du soleil, it’s not hard,” he remarks gently. “No?” I say with deference. “Not hard a bit,” the Count says, beginning to use his hands. “You only need three colours, you know. Very simple.” “Which colours are they?” I inquire ignorantly. “Why, you know of course,” he says surprised. “Burnt sienna, cadmium yellow, and—er—there! I can’t think of it. I know it as well as I know my own face. So do you. Well, that’s stupid of me.”

Or, his worn eyes dwelling benignantly upon my duffle-bag, he warns me (in a low voice) of Prussian Blue.

“Did you notice the portrait hanging in the bureau of the Surveillant?” Count Bragard inquired one day. “That’s a pretty piece of work, Mr. Cummings. Notice it when you get a chance. The green moustache, particularly fine. School of Cézanne.”—“Really?” I said in surprise.—“Yes, indeed,” Count Bragard said, extracting his tired-looking hands from his tired-looking trousers with a cultured gesture. “Fine young fellow painted that. I knew him. Disciple of the master. Very creditable piece of work.”—“Did you ever see Cézanne?” I ventured.—“Bless you, yes, scores of times,” he answered almost pityingly.—“What did he look like?” I asked, with great curiosity.—“Look like? His appearance, you mean?” Count Bragard seemed at a loss. “Why he was not extraordinary looking. I don’t know how you could describe him. Very difficult in English. But you know a phrase we have in French, ‘l’air pesant’; I don’t think there’s anything in English for it; il avait l’air pesant, Cézanne, if you know what I mean.

“I should work, I should not waste my time,” the Count would say almost weepingly. “But it’s no use, my things aren’t here. And I’m getting old too; couldn’t concentrate in this stinking hole of a place, you know.”